The legendary soul singer, Solomon Burke, died on October 10, 2010. The King was on his way to a gig in Amsterdam.

I had the blessed fortune of working with King Solomon in 1983, remixing a live album of his for Rounder Records, called “Soul Alive.” Of all the unique characters I got to work with in my years in the music biz, Mr. Burke was one of my favorite. Solomon told me that he had a Cadillac, a girl friend, a child, and a church in every city of America. He would land at the airport in, let’s say, Chattanooga, Tennessee, and his car and woman would be waiting for him.

Solomon’s gigs were made up of endless medleys interspersed with his personal brand of sermon. The King’s philosophy, at its heart, could be summed up in one word. He told us that the word love was overused these days, as he purred in his rich baritone, “I love you. I love you. I LOVE you.” You could feel the women in the audience sweat. But though the King truly walked his talk by siring at least 21 children, he was something of a feminist.

“And if he doesn’t love the child you had with another man, don’t give him none!” he would shout to the hot squeals of the women in the audience. “You don’t need a man to sign your welfare check for you!”

The big guy and I had lots of fun together in the studio. He had a great sense of humor. But I learned later on that it was not a good idea to mess with the King.

In the late 1980’s I worked with Paul Shaffer of David Letterman fame on a song called, “What is Soul.” The song was co-written and produced by Shaffer, the god-like Steve Cropper, original guitar-playing member of the Memphis Stax rhythm section sometimes known as Booker-T and the MG’s and writer of such timeless classics as Sittin’ On the Dock of the Bay,

Covay would come into the studio each and every time and grab me by the shoulders, look me in th eyes and say, “Glenn? Are we goin to make history today?”

I would say yes, and then he’d say, “Then I’m ready. Let’s make a hit record.”

Shaffer’s idea for the record, which would be a part of his album, “Coast to Coast,” was to reassemble the “Soul Clan.” In the early 1960’s, Atlantic Records, headed by the R and B loving Turk, Ahmet Ertegun, were making the hottest soul records in the nation. A group of the extraordinary singing and writing talents from that label came together in 1968 and cut one single. Circumstances led to the almost immediate dissolution of this holy grail of supergroups and aficionados of soul tried for decades to reunite these players. Shaffer, Cropper, and Covay had almost managed to do it. On this one record appeared the original surviving members Covay and Ben E. King of “Stand By Me” fame (check out the beautiful and departed River Phoenix in this clip),

along with Wilson Pickett who performed such hits as the seminal “In the Midnight Hour,”co-wrote with Cropper.

All that was missing was the King himself. (Otis Redding, who sang “Dock of the Bay,” and Joe Tex, of “Skinny Legs and All,” fame, were dead.)

Shaffer got Burke on the phone. We were psyched. But the reunion second only to the Beatles was not to be. Burke told Paul that not only would he not sing on the song, “What is Soul,” but that he had written it, (He hadn’t. Shaffer, Cropper and Covay had.) and if Shaffer insisted on putting it out, he would sue! Alas. You gotta love it.

The moral of the story is, you can’t go back. In Cropper’s day, you’d write a song in a few hours at night, cut the A side from 10 in the morning till lunch, take a break, do a little blues jam for a B side, that might turn into “Green Onions,” press the record, stick a $20 dollar bill in the sleeve, bring it over to the local radio station, and in 24 hours you’d know if you had a hit. (Notice on this clip that this hit-machine of a combo was all the more extraordinary in the Memphis of the mid-60’s for having white and black guys in the same band.)

Shaffer’s record was ruined by the taste-deaf record company execs who kept demanding changes to make it marketable. Over-produced, we worked on it for months. At one point, in rageful frustration, Wilson Pickett screamed, “You pluckin’! You chicken pluckin’ now!”

You can’t go back. Isn’t that what the sweet pain in art is all about? The King is dead and the soul clan will never be reunited. This moment in American musical history is no more. But I get to hold onto these memories. And Solomon Burke, with songs like, “Everybody Needs Somebody to Love,” (and in Solomon’s case, it should have had the sub-title, “And I’m Available”) and his 21 children, 90 grandchildren and 19 great-grandchildren, truly leaves behind a legacy that will long endure.